Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
Modern flamenco guitars, negras particularly, seem to be offered with a choice of 'exotic' woods for back and sides. Is this purely cosmetic, or do they really sound different to the average player's ear?
Given that the rest of the guitar is built with average regular materials, what differences in sound should one expect if the back and sides were (A) cocobollo (B) granadillo, and (C) palo escrito. And how would your rate these woods against a rosewood negra.
Also, what other factors might enter the equation, weight, density, etc.?
RE: cocobollo; granadillo; palo escr... (in reply to britguy)
I am commisioning my luthier a brazilian rosewood negra at the moment. He told me cocobolo is very similar in sound to brazilian rosewood, but he told me he still prefers brazilian rosewood compare to anything else and the price is of course more.
Printable Version
New Messages
No New Messages
Hot Topic w/ New Messages
Hot Topic w/o New Messages
Locked w/ New Messages
Locked w/o New Messages
Post New Thread